Past Book Submissions

Received from our new book announcement form: 2019 and earlier.

Gibraltar Editions, Ten Poems. “This is an unbound book of 10 poems. Each poem was printed over the woodcut on separate sheets of Kitakata 7 1/2 inches (h) x 14 (w). The sheets are folded in thirds and stacked, each with a bi-fold slipsheet. Title and colophon are printed on sheets of cover wt Speckletone. Wrapped in a folded cover of Speckletone with a 1/2 inch paper band. Title and publisher printed on the wrappers. Printed to celebrate the 150th anniversary of Nebraska’s statehood and the publication of the comprehensive “Nebraska Poetry: A Sesquicentennial Anthology, 1867 – 2017” (Daniel Simon, editor) 20 copies available for $350. 195 by 122 mm.

Brian D. Cohen, Emblems. “This publication reproduces the first twenty-five etchings of the Emblem series and accompanied an exhibition at the CX Silver Gallery in Brattleboro, Vermont held in the Fall of 2016. Printed, by Puritan Capital Press, in an edition of 200 copies signed by the artist with preface by Chard deNiord and essay by Nancy Eddy.” 200 copies available for $35. 22pp. 200 by 165 mm.

Deep Woods Press, The Changeling’s Exile. by Gerard Wozek. ” A long poem of an anguished soul lamenting his unfortunate switch at birth by the faerie folk. Letterpress printed with an intaglio copper engraving and hand colored ornaments. and eight wood engravings by Glenn Wolff. Set in Palatino, printed on a Vandercook 219 & BAG intaglio press on Somerset papers and quarter bound with green Fabriano Roma with Asashi cloth spine. Fifty copies available for $175. 22pp. 200 by 165 mm.”

Deep Woods Press, Killing the Bear. “Acclaimed poet Judith Minty’s deeply felt, archetypal tale of confronting wild nature and self has never before been published on its own. With a foreword by Anne-Marie Oomen and eight wood engravings by Glenn Wolff. Set in Palatino, printed on a Vandercook 219 on Hahnemühle Biblio papers and quarter bound in Brick Bugra with Asashi cloth spine. . One hundred copies available for $200. 25pp. 175 by 145 mm.”

The Reading Room Press, It is Unfortunate for the Ants: a Short Story by Louise Ihringer. 2012. Published jointly by Oxford
University Department of Continuing Education and the Oxford Guild of
Printers. This winning entry in a short story competition sponsored by the OGPA was typeset in Dante by Stan Lane of Gloucester Typesetting Services, printed on a Fag proof press by John Grice at his Evergreen Press on Magnani paper, and bound at the Fine Book Bindery. One hundred fifty copies available for £30 from the Chairman, Miles Wigfield, Coneygar Lodge, Quenington, Gloucestershire GL7 5BZ. 19pp. 245 x 165 mm.

The Reading Room Press, The Bellman’s Return. “A ‘Snarklet’ being six stanzas penned by the printer as a light-hearted conclusion to Lewis Carroll’s ‘The Hunting of the Snark’ printed in Lutetia & Ornata on Zerkall and decorated with commercial wood engravings of nautical lamps. One hundred twenty copies available for £12 including postage. 8pp. 157 by 124 mm.”

Contre Coup PressSatiable Curtiosity: Three Origin Myth Tales from Just So Stories“Written by Rudyard Kipling. Linoleum cut illustrations by Nick Baute. 73 pp set in Cochin . . . printed on Frankfurt Cream . . . quarter binding, with cloth spine, decorated paper covered boards. 23 copies available for $75 each.”

The Reading Room Press, out of context. “A conceit coupling a discarded wood engraving by George Buday of T.E. Lawrence with a seemingly bizarre quotation by Lawrence—taken out of context—together with a brief comment by Simon Brett. Set in Monotype Bembo, printed on a Barret & Cope Albion on Magnani papers and sewn into printed Bugra wrappers. One hundred twenty copies available for £12 including postage. 6pp. 153 by 117 mm.”

bradypress, No Center Line Exists. “Seven of Zachary Schomburg’s ‘surreal, insightful, hilarious & heartfelt poems’ (Chris Tonelli, “Open Letters Monthly”) handset in Gill Sans & Comstock types printed on Ingres Antique beside Denise Brady’s altered photographs on handmade paper. Eighteen copies bound in a dos-à-dos structure of Japanese cloth covered board covers, wrapped in handmade paper. $100. 5.5 by 6.25 inches.”

Shackman Press, In Dreams Begin Responsibility. “A fine edition of Delmore Schwartz’s seminal short story first published in 1937. Printed on a Vandercook Universal IV in Florence, Massachusetts on Mohawk Superfine. Sixty copies were bound by Sarah Creighton, fifteen of which have stamped-leather spines, and are enclosed in a cloth chemise. $210 and $475, respectively. 36pp. 7.25 by 10 inches. “

interrobang letterpress, My Dust Is My Nature. “A book of post-modern affirmations. Local Jamaica Plain author & printer collaborate to produce a first effort for both. 100 copies printed from Linotype-set Erbar on Zerkall Book, and wrapped in Hahnemühle Bugra. The edition is sold out.”

Incline Press, Emil Rudolf Weiss the typography of an artist a monograph. ” Written by Gerald Cinamon, this lavishly illustrated book considers the contribution of this German artist to the book arts: his typefaces and ornaments, patterned papers, typography for publishers such as Fischer, Temple and Insel, book illustrations, binding designs. William Morris was an important influence on him, while his influence may be seen in Penguin and, via Elizabeth Friedlander, in Curwen papers and Monotype ornaments. Weiss type is still a popular book face. De-luxe edition includes extra material included in a portfolio in a matching slipcase. Letterpress samples of Weiss in modern use have been contributed by Christian Brett, Phil Driscoll, Jerry Kelly, and Leonard Seastone.181 pp. 230 copies available at £330 each.”

Contre Coup PressOn the Science of Onanism. “Written by Mark Twain. 13 pp set in Goudy Thirty . . . printed on Frankfurt . . . marbled paper wrappers . . . printed wrapper of Arches Cover paper. 20 copies, Not for sale.”

Contre Coup PressThe Tar-Baby: Three Folktales.” Written by Joel Chandler Harris. 41 pp set in Cochin . . . printed on Twinrocker Yale Heavy Text . . . Quarter cloth with decorarated paper-covered boards, bound by the Campbell-Logan Bindery. 16 copies available for $60 each.”

Accordion Press Collaborations, House of Possibility. “a sense of place and vocation, designed and hand-printed by Regula Russele and CB Sherlock, with poems by Joyce Sutphen. Letterpress printed hand-set Caslon type, originally from Emerson Wulling’s Sumac Press; images and titles were translated to photopolymer plates from original ink drawings by CB Sherlock. Kaji ribbons bind the book in an adaptation of Claire Van Vliet’s woven book structure. It was bound with the generous help of Margit Ahmann, Britta Clark, Marvel Gregoire, and Karen Kinoshita, all in the studios of Minnesota Center for Book Arts. Kent Aldrich, chieftain of the Nomadic Press, tutored us in the art of die cutting on his C&P. Michael Russelle helped, as always, with the poetry selection. 74 copies available for $160 each.”

Sherwin Beach Press, Searching for Morris Fuller Benton: Discovering the designer through his typefaces. “Written by Juliet Shen, with a foreword by Roger Black and a frontispiece wood engraving by Carl Montford. 58 pages set in Cloister Old Style & printed by Kat Ran Press &Capital Offset. The binding is an interpretation of Daniel Kelm’s wire-edge design. . . . This non-adhesive binding features an exposed spine with the sewing
pattern prominent on the red leather tapes. Kelm’s design allows the
book to open flat. A printed montage of illustrations from the text
stand as contrasting quarter panels to the black heather fabric on the
front and back covers. The end papers are Ingres Antique. 75 copies available for $450 each.”

Shanty Bay Press, Circus: The Artist as Saltimbanque.” . . . a variety of writings . . . loosely based on the idea of the artist and the circus. The authors include Apollinaire, Beaumont, Baudelaire, Miller, Rilke and Twain. The excerpts are different in both style and content: they are funny, surreal, serious and poignant. Together with the illustrations we hope to evoke the richness of the circus experience, where there are three rings of simultaneous activity, with something different happening in each one.”

The Old Stile Press, Scenes from the Life of Jesus.” Natalie d’Arbeloff was a student in New York when she did these drawings over 50 years ago amid the excitement and fervour of early Abstract Expressionism. The text has Biblical quotations and her response to each scene she had depicted. Splendidly free lines which leap from the page.”

Anna Fewster, Letterpress Printer, Halo of Dust. “a poem by Teddy Macker about St Francis of Assisi. . . Set by hand in 12pt and 36pt Baskerville metal type, . . . illustrated with . . . linoleum cuts and letterpress printed on Zerkall mould-made paper . . . .”

Peter & Donna Thomas, Don’t Fence Me In. “text is the first line of Cole Porter’s archtypal cowboy song. Letterpress printed on Peter’s handmade paper. The images are vintage printers cuts from an old print shop in Butte Montana. The type is ATF “Old Town” and is printed with a rainbow roll.”

Peter & Donna Thomas, Not Paper. “describes paper-like materials that are not paper including Amate, Birch Bark, Parchment, Papyrus, Tapa, Tyvec and Wasp Nest and there are 8 samples tipped in. Letterpress printed with multiple color runs using antique wood type, with Centaur and Neuland for text and title. All the text paper was hand made by Peter Thomas.”

Chester Creek Press, Winter Light. “explores [Verplanck} Colvin and his work in a presentation of text, maps, drawings and prints. The text includes excerpts from an address by Kermit Remele, Licensed Surveyor, at the XXII Congress of the International Federation of Surveyors in Washington, DC. The book is letterpress printed on handmade paper with handmade paper endsheets that incorporate native plant fibers from cattails and milkweed.”

The Old School Press, Winter Light. “brings together a group of Hugh Buchanan’s haunting watercolours of great rooms seen by the low light of winter, with texts by Peter Davidson about the artist’s travels through remote places and cold landscapes. The rooms in the pictures are shown as if opened up for a solitary off-season visit, a locked and frozen house as it might be seen by a tradesman making a repair, or a visiting antiquary, shutters opened for one day to let in the brief light.”

De Walden Press, Leonardo Dreams of His Flying Machine. “printed on a special making of handmade paper from Griffen Mill in Ireland, using a Craftsman hand press and polymer plates, set digitally in Brioso Pro typeface designed by Robert Slimbach. The five full page illustrations were drawn especially for this book and transferred to polymer and printed on the press, onto handmade Japanese Bicchu Torinoko Gampi paper. Each illustration is individually hand-gilt and burnished using genuine gold leaf. There are five of Leonardo’s studies of creatures that fly.”

The Whittington Press, Lucien Pissarro: Twenty-Four Wood Engravings for The Eragny Press. “To mark the exhibition of the work of the Press at the Ashmolean in early 2011 we shall issue this small edition of some of Lucien’s finest engravings done for the Eragny Press, printed from the original blocks. Four of them will be printed in colour, a technique pioneered by Lucien using pale and subdued colours to build up images of great charm and subtlety.”

Barbarian Press, The Play of Pericles. “Pericles is not a play most people have ever seen, and not many more have ever read it. For reasons which have always been a mystery to us, the play is rarely performed. But whatever critics and scholars have said about Pericles — and they have generally been dismissive — actors and audiences love it.”

Chester Creek Press, A Story also Grows. “. . . poems by Charlotte Muse . . . inspired by the words of Ascencion Solorsano, the last native speaker of the Mutsun tribe, who were forced by Spanish missionaries to build the Mission San Juan Bautista in California at the end of the 18th century.”

Shackman Press, Easter Week. “. . . a collection of new Anton Chekhov translations and engravings. Two stories, “The Student,” Chekhov’s own favorite, and “On Easter Eve,” appear in a superb new translation by Michael Henry Heim. Both stories, as well as an accompanying letter, are illustrated with original engravings by Barry Moser.”

Deep Wood Press, The Frogs Who Wished A King. “. . . classic tale from Aesop’s fables newly illustrated by Chad Pastotnik with five intaglio engravings printed in raw umber. Composed in Garamond types and printed on mouldmade Hahnemuhle Biblio paper.”

Incline Press, A Line. “. . . a story about the rope line that leads the fisherman to the sea. It is also the story of the unbreakable line that connects one life to another, about life lines and friendship lines and the inexorable line of narrative that makes a satisfying story.”

Atelier BiBi, Breve introduzione alla tecnica incisoria della PUNTASECCA. “. . . introduzione alla tecnica della PUNTASECCA. Con una incisione originale.”

Greenboathouse Press, Against the Hard Angle. “. . . [these] poems feel contemporary. Objects are used to hint at human relationships, relationships perhaps difficult to discuss, haunted by an unspoken pessimism.”

The Old Stile Press, Equus. “. . . a long, dramatic text of a dreadful event committed by a highly disturbed young man.”

Women’s Studio Workshop, Patterned Pleasures. “. . . compares the alluring act of aerial mating in leopard slugs with the positions taken during human sexual activity.”

Women’s Studio Workshop, Iron. “. . . text examines the history of domestic labor and immigration, while the images document the technological progress of ironing appliances (patents included). Printed in invisible ink, the viewer reads the book by ironing the pages.”

The Shackman Press, Paul Celan: A Reading for Group 47. “. . . Paul Celan visited the German literary club, Group 47. He read four poems [reprinted here].”

Aureole Press, Exiled from the Throne of Night. “A multi-signature book with original Spanish poems and English translations printed in two colors from Perpetua types . . . .”

Chester Creek Press, Crows on Bare Branches. “. . . poems about the changing seasons told through the migrations of birds in Alaska.”

Triona Pers, Tongue Twister. “. . . typespecimen book contains one phrase that is difficult to articulate when spoken quickly.”

Lumiere Press, On Prior Lane; A Firefly’s Light; The Cushing Interviews. “. . . An acknowledged master of photography, rarely seen and previously unpublished images by Paul Caponigro are interwoven with a dialogue that traces his personal journey, his artistic development, his philosophical revelations.”

The Press & Letterfoundry of Michael & Winfred Bixler, A Legacy of Letters. “. . . through a deep reading of the writings of Morison and his contemporaries[, Legacy] explores the question of type design and its relationship to the technologies of type production.”

Chester Creek Press, Dusk at St. Mark’s and Other Poems. “. . . by Dylan Willoughby [with illustrations] printed with polymer plates made from original drawings by Anthony Mastromatteo.”

Deep Wood Press, Winter Walks. “. . . by Jerry Dennis with eight wood engravings by Glenn Wolff. Jerry’s remarkable insi[ght] into the wilderness within and out, a modern transcendental voyage in the snow.”

The Printery Books, On Collecting William Morris: A Memoir. “. . . one of two runners-up in the 2008 Carl Hertzog Award competition sponsored by Friends [of] the University Library at the University of Texas El Paso.”

The Old School Press, Palladio’s Homes. “. . . brings together the architecture, art, paper, and type of Italy in this new slant on Palladio’s domestic architecture on the 500th anniversary of his birth.”

The Petrarch Press, Canticle of the Creatures. “. . . considered by many to be the earliest poetical masterpiece in the Italian language, [Canticle] is newly transcribed from the oldest remaining manuscript of the song. . . .”

The Old Stile Press, The Girl from the Sea. “There are many stories and legends of selkies—the seals that surround the shores of Orkney—their deep brown eyes that captivate humans, their singing that mesmerises. George Mackay Brown had written stories of them.”

Celtic Cross Press, Sea Stories. “Three stories about island folk whose lives are bound up with the sea and fishing, a common theme in much of George Mackay Brown’s work, written between 1975 and 1987 but unpublished.” With “10 line drawings in one colour” by Rosemary Roberts.

Hell Fire Club Books, A Facsimile Rosicrucian Alchemical Manuscript On the Philosophers Stone . . . . “From an unpublished handwritten notebook circa 1860 which reflects the secret alchemical traditions of the Societas Rosicruciana in Anglia and the Hermetic Society of the Golden Dawn.”

Caveworks Press, Out of the Blue. “Aaron McNally’s poetry is driven by rhythm and sound, but guided by emotion. As readers, we are challenged to pinpoint the complexities of emotional expression each poem contains.”

Bracket Press, On the Visionary Work and Revolutionary Life of an Idle Idol: William Morris. “In a life of only 62 years William Morris managed to be poet, painter, engraver, weaver, dyer, designer, printer, retailer and revolutionary, sometimes all at once.”

Arion Press, Tono-Bungay. “. . . remarkably timely in its satire of the pharmaceuticals industry and warnings about unregulated financial speculation. The Arion Press edition is illustrated with fourteen portraits of the main characters by Stan Washburn.”

© 2019 - 2020. | Powered by Fine Press Book Association